Pierre Yovanovitch Unveils His First Furniture Collection
September 8, 2017 - accent chair
“Oops!” exclaimed French interior engineer Pierre Yovanovitch on Tuesday during New York gallery R Company. “We contend it a lot in France. It’s funny. It’s a surprise.” It’s also a name of his just-launched collection of furnishings, a initial for a engineer best famous for his pared down—but never stark—sense of modernism. “When Evan [Snyderman, cofounder of a gallery] asked me to do this it was such a surprise!”
Walking into a gallery, that same clarity of warn is immediate: Yovanovitch has totally remade a space. Past a entrance, he devised a dull corridor of sorts, forged with intense vitrines. A French painter was brought in to dash accent walls with a burgundy cloak imitative velvet. And a customarily petrify floors were lined with a rubbery component typically used in gymnasiums. Here it looked some-more like an superb terrazzo.
Not so startling (if you’re informed with his artistic interiors) were a 24 new pieces that filled a space—each of them nuanced and meticulously crafted by a swift of artisans opposite Europe and churned in with treasures from R’s collection (a never-before-seen trompe l’oeil Wendell Castle chair; an eye-catching, Lapo Binazzi cloak rack). Still, walking through, an component of warn follows: A long, saddle-shaped dais is, in fact, one impossibly difficult-to-cast square of ceramic (“the ceramicist did one in dual tools though we said, ‘No, we cite one,'” he laughs); a zig-zagging lounge is finished from ideally assimilated pieces of hunger though a singular spike or screw—and it’s suitable for outdoors.
Perhaps a slightest surprising—but many lovable—piece of a uncover was a one many of us were saying for a second time: a Papa bear chair. This time, assimilated by a Mama bear and baby bear. “It was usually consecrated for several projects though they finished adult all over Instagram,” he says. “This time, I’m doing them in sheepskin.” The dull ears on top, he tells, me, are indeed dictated as headrests—”totally ergonomic!”
“It’s all about origination tension,” he explains of conceptualizing furniture. “It’s manly and feminine; it’s severe and sophisticated; it’s really good finished though never serious.”